A MAN wearing a fedora hat and long coat walks along a sidewalk in front of a house, and then turns down an alley along the side of the house. DEAN and SAM are in a parked car on the opposite side of the street.

DEAN: All right, let's do this. Move fast.

DEAN cocks his gun.

SAM: Wait, wait, wait. What's the plan exactly?

DEAN: Don't die.

DEAN and SAM get out of the car and hurry after the FEDORA MAN.

DEAN: He's heading downtown. All right, you take the street. I'll take the alley. I'll meet you in the middle.

DEAN turns an alleyway corner and sees the FEDORA MAN kneeling over and holding the head of another man, who is on his back on the ground. There is a red light above the prone man’s face which seems to be being absorbed by the FEDORA MAN.

DEAN: Son of a...

DEAN runs towards the men. As the red light from the prone man is completely absorbed by the FEDORA MAN, the FEDORA MAN lets the prone man’s head fall to the ground and stands up. SAM comes around the corner and sees DEAN tackle the FEDORA MAN. DEAN and the FEDORA MAN disappear in an explosion of red and white light.

SAM: Dean?

SAM holds his arms out in front of his face as the force of the explosion reaches him at the other end of the alley. The light then disappears and everything is still. DEAN and the FEDORA MAN are gone.

SAM: Dean?!

SUPERNATURAL (Title Card)

ACT ONE

Two Days Earlier

INT. HOUSE – NIGHT

DEAN is sitting at a table with a bottle of whiskey and laptop, looking at websites related to DICK ROMAN: Global Economic Report: RRE, a search engine page, Financial Market Watch: Richard Roman Enterprises stock soars. A cell phone rings. SAM, who was asleep on a bed in the same room, sits up and groans.

JODY MILLS (on phone): A body turned up in Canton, Ohio. Local P.D.'s trying to bury the story and the body.

(The scene continues to switch between the HOUSE and CAR.)

SAM (on phone): Okay, um, so, uh, what's up with the body?

JODY MILLS (on phone): Well, when it went missing, it was a perfectly normal grad student named Charles Durbin. When it turned up, the thing was mummified minus the wrapping. This is actually the second body found like this in the last couple weeks. Sound like a song you boys tap to?

SAM (on phone): Yeah, yeah, that's, that's um... that's our kind of number. Hey, question – how does a sheriff in Sioux Falls get wind of a case in Ohio?

JODY MILLS (on phone): I'm just that nosy. Look, after everything I've been through with you boys and... with Bobby, you know, something like this pops up on the wire, it catches my ear. What can I say?

SAM (on phone): Well, we'll look into it. Thanks, Sheriff.

JODY MILLS (on phone): Call me after, okay?

SAM (on phone): Yeah.

INT. HOUSE – NIGHT

SAM hangs up.

SAM: That was Sheriff Mills. She caught us one.

DEAN: Oh, I feel bad. We didn't get her anything.

SAM: I can't believe I'm about to say this but I hope you're watching cartoon smut, 'cause reading Dick Roman crap over and over again is just self-punishment.

After a pause, DEAN closes the laptop.

DEAN: It's called anime, and it's an art form.

Canton, Ohio

EXT. ABANDONED HOUSE – DAY

Signs saying “For Auction” and “No Trespassing” are hung on a security fence around the house. DEAN and SAM, dressed in suits, pull up in a car outside the house.

DEAN: Well, this looks nice. Check around back?

They drive off.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – DAY

DEAN carries a table into an empty downstairs room. SAM comes down the stairs carrying a chair.

SAM hits a button and an old newspaper photograph appears on the screen. In it, a young girl standing next to a policeman points at a corpse. In the background are a woman talking to another policeman and two men, one of whom is wearing a fedora and long coat.

SAM: Girl named Terry Cervantes found a corpse near her church.

DEAN: Any pattern here other than the location?

SAM: Random vics, random years. But they seem to drop in threes.

DEAN: That's two down, one to go. All right, let me drive for a sec.

SAM: What, are you gonna look up more anime, or are you strictly into Dick now?

DEAN: A little tutorial from Frank. Don't worry. We'll pretend this never happened. Now, mummy numero dos was, uh, found at the Gas n' Sip near Main Street, correct?

SAM: Yeah.

DEAN enters “gas+main+st” into a search box on the Securi-Net Webcams site and brings up four security camera feeds.

DEAN: All right, well, here's all the cameras around that store.

SAM: You need to teach me that trick.

A MAN wearing a fedora and long coat appears in one of the feeds.

DEAN: Hey, check it out – Timberlake.

SAM: Wait a sec.

SAM takes back the laptop.

DEAN: You can't let me bask in the glory for one second, can you?

SAM: Shut up. Look.

The laptop screen now shows a close-up of the man from the security camera feed, and a close-up of the man in the fedora and coat in the old newspaper photograph.

DEAN: He hasn't aged a day, has he? All right, well, if he's been popping up for decades now, then somebody's bound to know who he is, right? Is there any chance that, uh, Terry's still local?

Close-up of the old newspaper photograph under the headline “Strange Body Found” from a copy of the front page of the Canton Post, Friday Morning, May 10, 1957. As the camera pans out, we see that a woman in a white coat is holding the article.

INT. HOSPITAL – DAY

TERRY: You know it's so pretty in the spring. Everything's blooming. That's why I walked home that way – to see the flowers. Instead, I found that body. I still have no idea what could have done that to a person.

DEAN: Do you recognize that man?

TERRY: Yeah. I mean, he lived on my parents' street. Mr. Snider.

DEAN: Where'd you say your parents live?

EXT. STREET – NIGHT

DEAN and SAM are eating take-out in the car, which is parked where it was at the beginning of the episode, across the street from a house.

DEAN: So, what exactly is this thing? Some sort of vampire who got too sucky?

SAM: Nope. Coroner's reports said there was blood in both bodies. 300-year-old blood, but blood.

The FEDORA MAN comes out of the house.

DEAN: Dude, dude. Uh, fedora dude.

The FEDORA MAN walks along the sidewalk and turns down the alley.

DEAN: All right, let's do this. Let's move fast.

DEAN cocks his gun.

SAM: Whoa, whoa, whoa. What's the plan here, exactly?

DEAN: Don't die.

DEAN and SAM get out of the car and hurry after the FEDORA MAN.

DEAN: He's heading downtown. All right, you take the street. I'll take the alley. I'll meet you in the middle.

DEAN turns an alleyway corner and sees the FEDORA MAN kneeling over and holding the head of another man, who is on his back on the ground. There is a red light above the prone man’s face which seems to be being absorbed by the FEDORA MAN.

DEAN: Son of a...

DEAN runs towards the men. As the red light from the prone man is completely absorbed by the FEDORA MAN, the FEDORA MAN lets the prone man’s head fall to the ground and stands up. SAM comes around the corner and sees DEAN tackle the FEDORA MAN. DEAN and the FEDORA MAN disappear in an explosion of red and white light.

DEAN and the FEDORA MAN are tussling on the ground. DEAN grabs the FEDORA MAN’s hand and sees that he is wearing a ring with an hourglass symbol. The FEDORA MAN breaks away and runs off.

DEAN: Hey!

DEAN gets to his feet and hurries after the FEDORA MAN. He is in an alley.

DEAN: Hey!

DEAN draws his gun.

DEAN: Hey!

DEAN reaches the street, stops and looks around. Judging by the cars and clothes, he is in the 1940s. Two policemen get out of a police car and point guns at DEAN.

POLICEMAN: Hey, you! Drop the gun! Put it down! Drop the gun!

DEAN: All right.

DEAN drops his gun to the ground. The policemen advance on him.

ACT TWO

INT. POLICE STATION INTERVIEW ROOM – DAY

A POLICEMAN is examining DEAN’s possessions. DEAN is sitting at the table in handcuffs.

DEAN: Okay, can I just –

POLICEMAN: Don't. Listen to me. Hey, if you tell me you're from the Bureau one more time, I'm gonna air you out myself. Got it?

The POLICEMAN turns on DEAN’s cell phone.

POLICEMAN: "No signal." Are you some kind of Jerry spy?

DEAN: Jerry who?

POLICEMAN: And a terrible one at that.

The POLICEMAN picks up DEAN’s FBI ID.

POLICEMAN: This badge was issued 68 years from now. Ace work, kraut-muncher.

DEAN calculates the date.

DEAN: '44? I'm stuck in 1944?!

POLICEMAN: We're all stuck in 1944, ya bunny.

A MAN enters the room. The POLICEMAN gets up from the table and walks over to him.

MAN: Take a powder.

POLICEMAN: Yes, sir.

The POLICEMAN leaves the room.

DEAN: Look I don't even like frigging sauerkraut, okay, so you can just skip the –

MAN: What happened in the alley? And paint me a real picture.

DEAN: All right, well, I'm "twelve monkeyed" no matter what I say, so here goes. I was chasing this dude. Uh, I'd just seen him mummify a guy. Yeah. So, I jumped him. He lights up red. Poof, we're in 1944.

The MAN tosses a folder onto the table and sits down across from DEAN.

MAN: Tell me more about the red light.

DEAN: Are you seriously asking –

MAN: You want out of this jail, you're gonna tell me everything you can about that man and the so-called light.

DEAN: Okay. I saw it, and then we were here.

MAN: Would you say that, uh... it was all around you or that more that it came from inside this fella?

ELIOT NESS: It means we got to get you into some new clothes. You look like some kind of bindlestiff.

DEAN: Stiff your br – bin – what?

INT. TAILOR’S SHOP – DAY

A WOMAN is measuring and pinning trousers at a table. ELIOT NESS and DEAN pull up in a car outside. DEAN gets out of the car and smiles after a passing serviceman. ELIOT NESS grabs DEAN’s arm and pulls him into the shop.

WOMAN: What's the rumpus, Eliot?

ELIOT NESS: Ezra Moore. Dean Winchester.

DEAN: Hey.

EZRA: Who's he? Some farmer clown?

ELIOT NESS: He's, uh, from the future.

DEAN: Yeah. Gas costs four bucks. You can get cheese out of a spray can. And... the President, he's a black guy. I could go on.

EZRA: Paint me impressed. I assume you need some clothes. Come on.

INT. ABANDONED HOUSE – DAY

SAM opens the door and JODY MILLS enters, carrying boxes.

SAM: Hey, let me, uh – let me help you with those.

JODY MILLS: No, I got these. You go get the other 20 in my truck.

SAM: Seriously?

JODY MILLS: Yeah. I think Bobby may have had a slight hoarding issue. I could barely get the door open on that storage locker. And, um, I'm pretty sure something's alive in at least three of those boxes.

SAM leaves.

INT. TAILOR’S SHOP – DAY

DEAN is dressing in brown clothes, then comes out of a fitting room wearing a dark suit. His hair is parted on the side. ELIOT NESS smiles and whistles. DEAN looks at himself in the mirror as EZRA smooths the suit jacket from behind.

DEAN: Awesome.

EZRA: "Awesome"? You some religious kook?

ELIOT NESS: No, he just likes saying that.

EZRA: So, spill already. What bucket of syrup did you two idjits step into?

ELIOT NESS: And I want to help you out. I do, but my partner here? He just back from the war. And he's spent the last two years kicking in Nazi skulls. If he doesn't kick in a skull every couple days, he gets real touchy.

LESTER: What, that guy? I mean, bum never missed a bet, but he gave me the heebie-jeebies, so I cut him off.

ELIOT NESS: Where would you meet him for the payoff?

LESTER hesitates. DEAN raises an arm and steps closer.

LESTER: T-the Early Bird! It's a dive on Haggerty. Practically lives in the joint.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM and JODY MILLS are researching, SAM at the table and JODY MILLS near a pile of boxes. They speak almost simultaneously.

SAM: Damn it.

JODY MILLS: That's it!

SAM: Okay, yours sounds better. You first.

JODY MILLS: It says here that people could summon Chronos "to compel him to tell them their futures."

SAM: And I've got the spell to do it right here.

JODY MILLS: So why the "damn it"?

SAM: 'Cause calling Chronos isn't the problem. It's making sure we summon him when Dean is right there... Literally with his hands on the guy, so he can surf him back.

JODY MILLS: That's not automatic?

SAM: No, it's more like we need to get the time on their end right to the exact second.

JODY MILLS: Or we get an angry God but no big brother?

SAM: And he's trapped there forever.

JODY MILLS picks up a bottle with a handwritten note attached.

JODY MILLS: "Fine, you ass. You win for once. Enjoy. R." Who's "R"?

SAM: Rufus, a family friend.

JODY MILLS: Ah, right.

SAM: Wonder what they were betting over?

JODY MILLS: Well, whatever it was, Rufus sure was a sore loser.

SAM smiles.

SAM: Yeah.

JODY MILLS: It's weird, huh? It's like their life's a big puzzle. You just keep finding pieces of it scattered all over the place. We should drink this. He'd want us to. Am I wrong?

SAM: It'd be rude not to.

EXT. STREET – NIGHT

ELIOT NESS and DEAN are in a parked car on the street near the alley where DEAN and CHRONOS appeared in 1944. CHRONOS is sitting in a diner with a cup of coffee.

DEAN: That's him.

ELIOT NESS: Kind of puny for a God.

ELIOT NESS drinks from a flask. He then holds the flask out to DEAN, who doesn’t take it.

DEAN: Thought you were, uh – thought you were Mr. Boy Scout.

ELIOT NESS: Why do you think I went after Capone in the first place? The guy had the best hooch in Chicago.

ELIOT NESS puts the flask back in his jacket pocket, but immediately takes it out again.

DEAN: So, now, w-who died in your life and made you a hunter?

ELIOT NESS: Who died? Nobody died, you morbid son of a bitch. I started doing this 'cause vampires were turning folks in Cleveland.

DEAN: And you got the bug.

ELIOT NESS: That's when I got the bug.

ELIOT NESS drinks from his flask again.

ELIOT NESS: Sometimes you just want to punch through the red tape with a silver bullet. Yeah, hunting sets me free. Isn't that why you hunt?

DEAN: I used to do it 'cause that's what my family did.

ELIOT NESS: Hmm.

DEAN: But they just seem to keep dying. To tell you the truth, I don't know why I'm doing much of anything anymore.

ELIOT NESS: Boo-hoo. Cry me a river, ya nancy. Tell me, are all hunters as soft as you in the future? Everybody loses everybody. And then one day, boom. Your number's up, but at least you're making a difference. So enjoy it while it lasts, kid, 'cause hunting's the only clarity you're gonna find in this life. And that makes you luckier than most.

A YOUNG WOMAN with long blonde hair leaves the diner and walks past ELIOT NESS’s car.

ELIOT NESS: Hello, nurse.

The YOUNG WOMAN walks down an alley.

DEAN: Hey.

CHRONOS leaves the diner and follows the YOUNG WOMAN. ELIOT NESS and DEAN get out the car. ELIOT NESS opens the trunk, which contains many weapons.

DEAN: Sweet merciful awesome.

ELIOT NESS hands DEAN a shotgun. CHRONOS is gaining on the YOUNG WOMAN. ELIOT NESS and DEAN run after them and raise their guns. CHRONOS grabs the YOUNG WOMAN’s arm and turns her to face him. They kiss. DEAN and ELIOT NESS look at each other in confusion.

EXT. – NIGHT

Clouds move across a full moon. ELIOT NESS is talking to someone in a small truck loaded with hay bales, as DEAN looks on from the car. They appear to be in a rural area. ELIOT NESS walks back to the car. A house is visible across a field. ELIOT NESS talks to DEAN through the open car window.

ELIOT NESS: Well, everything's coming up us, kid.

DEAN: Talk to me.

ELIOT NESS: I am. The owner of the house, Miss Lila Taylor, age 20, lives alone. Take the car, head back to Ezra, see what she's got. I'm gonna stay here and keep my peepers on the Sheik and the Sheba.

CHRONOS: Yeah, everything's perfect. You're perfect. I just need you to pack a bag and I'll explain why on the way, okay?

LILA: But the diner –

CHRONOS: [raising his voice] Forget about them! [in a more normal tone] We'll call them tomorrow, okay? Just go. Pack.

EXT. HOUSE – NIGHT

DEAN drives up and parks outside the house that in the present day SAM and JODY MILLS are staying in. Lights are on. DEAN chuckles and drums his hands on the steering wheel.

DEAN: Jackpot.

INT. HOUSE – NIGHT

DEAN walks up to the front door. An OLD MAN is reading a newspaper inside and listening to the radio. DEAN knocks.

OLD MAN: Can I help you, son?

DEAN: Yes, sir. I am, uh, Special Agent Costner with the, uh...

DEAN holds out his FBI ID.

DEAN: ...Department of Homeland Termite Invasion.

OLD MAN: Termites?

DEAN: Yes, sir. There's been an outbreak all over this area, and I just want to do an inspection, make sure that the, uh, perimeter's secure.

OLD MAN: Yes. Yes, of course. Um, you'd better come in.

DEAN: Okay.

DEAN walks up the stairs as the OLD MAN looks on. DEAN turns a light on in a bedroom and moves the bed away from the wall. He puts a pillow from the bed on the floor next to the wall and lies down. The OLD MAN comes into the room.

OLD MAN: Is everything okay up here?

DEAN leans up on an elbow.

DEAN: What?! Oh, yeah – no! No, no. Not to worry, because I'm going to install something that will protect this house forever.

The OLD MAN nods. DEAN gives him a thumbs-up. The OLD MAN leaves the room and DEAN lies back down. DEAN looks up and then to his right, and sees the bottom of a door frame on the other side of the room. He gets up, walks over to the door frame, and takes out his switchknife.

DEAN: Yeah.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

JODY MILLS enters carrying a bag of food and coffee. She sees SAM with his head down at the table.

JODY MILLS: You are toast.

SAM raises his head with a start.

JODY MILLS: I'll keep pushing. You go get some shut-eye.

SAM: Uh, that's okay. I can, uh...

SAM takes a coffee and JODY MILLS immediately takes it back from him.

JODY MILLS: Do I have to use my mom voice?

INT. ABANDONED HOUSE, BEDROOM – NIGHT

SAM crashes face down on his bedroll with his eyes closed. He puts his hands under the bedroll to use as a pillow and moves his head several times to get comfortable. We see the base of the door frame on the other side of the room. SAM turns his head towards the wall next to him, then suddenly snaps his head around to look at the other side of the room. “SAM” is written at the base of the door frame. SAM turns on a portable lamp, takes it across the room and uses his knife to break away the piece of the frame on which his name is written. Behind it is a piece of paper, which he unfolds and reads.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM hurries down the stairs. JODY MILLS gets up from the table.

JODY MILLS: All right. You asked for it. Young man –

SAM holds out the piece of paper. JODY MILLS takes it and reads what is written aloud.

JODY MILLS: "Sammy, turns out Snider is Chronos." Wait, this is from Dean? How –

SAM: Just read!

JODY MILLS: "I rode him to 1944. Am working with Eliot Ness – yes, that one.”

JODY MILLS looks up at SAM. He smiles.

JODY MILLS: “Tracked down Chronos. He's banging some chick named Lila Taylor, and we got a weapon. We're going after him. Take care of yourself, Sam."

SAM: Look at the top.

JODY MILLS: November 5, '44.

SAM: So, now we know the exact date Dean had hands on Chronos. All we need is the exact time.

JODY MILLS: Which we get how?

SAM: Hoping...

SAM takes back the letter.

SAM: ...we ask someone who was there.

The camera pans in on “Lila Taylor” in the letter.

INT. RETIREMENT HOME – NIGHT

An older woman is standing, holding a TV remote. JODY MILLS puts a hand on her shoulder.

JODY MILLS: Miss Lila Taylor?

LILA: Oh, can you get "The Sullivan Show"? I want to watch that Frankie Valli.

JODY MILLS: Um, actually...

JODY MILLS holds up her badge.

JODY MILLS: ...we're with the police.

LILA: Oh. Is Michael in trouble again?

LILA turns and starts when she sees SAM. LILA sits down on a couch. JODY MILLS and SAM sit on footrests nearby.

LILA: Ethan... said awful things. And then... and then he strangled that poor man.

SAM: What poor man?

LILA: Two policemen came to arrest Ethan.

SAM holds up an ID card with a picture of DEAN.

SAM: Ma'am, was this one of them?

LILA: Ethan choked the life out of that man.

EXT. LILA TAYLOR’S HOUSE – NIGHT

DEAN is walking towards the house carrying a shotgun, then breaks into a jog. He stands behind the car parked in front of the house.

DEAN: Ness! Ness!

DEAN sees the shed with the broken door. He shines a flashlight inside and sees broken glass and splintered wood.

DEAN walks quietly up the stairs to the house and tries the front door. He puts his gun in his coat.

INT. LILA TAYLOR’S HOUSE – NIGHT

DEAN picks the lock and enters. He walks into the sitting room and sees light and movement in the gap under a closed door. As he is reaching for his gun, CHRONOS tackles him and they crash to the floor. They get to their feet, DEAN punches CHRONOS and CHRONOS punches DEAN, sending DEAN sprawling into a chair. CHRONOS prepares to hit DEAN again.

LILA: Ethan!

CHRONOS turns. ELIOT NESS is holding LILA from behind and pointing a gun at her stomach.

ELIOT NESS: Let's talk.

ACT FOUR

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM and JODY MILLS enter and set items for a spell on the table: bowl, candles, matches. SAM takes an hourglass out of a paper bag and puts it in the bowl.

Sam: Here, break this.

JODY MILLS covers the hourglass with cloth and smashes it with her gun.

INT. LILA TAYLOR’S HOUSE – NIGHT

CHRONOS: Please don't hurt her.

LILA: Ethan, what's happening?

DEAN: Yeah, Ethan. What the hell?

CHRONOS: Lila, I'm sorry, but, you just – everything I said to you is true –

DEAN: Oh, he might have left out a few details. He tell you he's a monster who jumps through time?

CHRONOS: [shouting at DEAN] I'm a God! [speaking to LILA] Look, I'm not a monster. Listen. I'm the opposite.

ELIOT NESS: Well, don't forget to tell her about all the people you murdered along the way, boy scout.

LILA: What?

CHRONOS: It's not like that. I do it for you, Lila.

LILA: I don't understand.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM unfolds a piece of paper and sets it on the table. JODY MILLS empties ingredients from plastic bags into the bowl. SAM slices his left palm with a knife and writes “11:34” with his blood on a piece of paper, which he then puts in the bowl.

INT. LILA TAYLOR’S HOUSE – NIGHT

The grandfather clock reads 11:32.

DEAN: Well, he's not as strong as he used to be. Isn't that right, Ethan? Now you got to suck people dry. Wild guess – it takes three kills to juice you up.

CHRONOS: Sacrifices. Three sacrifices, and I can control when and where I land. But once I get there, it's never for long before I'm tossed through time again. That's my life, Lila. And all I want is to get back here.

ELIOT NESS: Because you just love the clean Canton air?

CHRONOS: Because I love her! Because I lived the worst existence you can imagine, and then I found you.

ELIOT NESS: After you killed Tyler Crosby and Cathy Porter? Lila here was gonna be victim number three. Am I right? Don't act like you never killed a soul before you met her, pal. Something tells me you used to kill three saps just for a change of scenery.

CHRONOS: Yes, I did.

CHRONOS steps towards LILA and ELIOT NESS.

ELIOT NESS: Back down.

CHRONOS: I-I used to wander, but now I have you.

LILA: I knew Cathy. She used to come into the diner every day.

Behind CRONOS, DEAN takes something out of his back pocket.

CHRONOS: Lila, please.

LILA: You are a monster.

CHRONOS: No, Lila, please!

DEAN prepares to stab CHRONOS. CHRONOS sees LILA’s eyes move to DEAN and turns to grapple with DEAN. CHRONOS breaks DEAN’s hold on the stake and it falls to the floor. ELIOT NESS shoots CHRONOS twice in the back, but this doesn’t stop CHRONOS from gripping DEAN by the throat.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM: O khrone parakaloumen se thespizein...

JODY MILLS strikes a match and lights the piece of paper with “11:34” written on it.

SAM: ...hemin khronon ton mellonta.

Flames rise from the bowl.

INT. LILA TAYLOR’S HOUSE – NIGHT

A red light glows in CHRONOS’s chest. ELIOT NESS looks at the stake on the floor.

CHRONOS: No!

CHRONOS grabs DEAN from behind with an arm around his neck. The grandfather clock strikes 11:34. ELIOT NESS picks up the stake and prepares to throw it to DEAN.

ELIOT NESS: Hey, Untouchable!

ELIOT NESS throws the stake and DEAN catches it. There is an explosion of red and white light. When it fades, CHRONOS and DEAN are gone.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

The room is lit with red light. There is a crashing sound. CHRONOS and DEAN appear and fall to the floor. The stake slides across the floor.

JODY MILLS: Dean!

JODY MILLS runs to DEAN. CHRONOS stands up.

SAM: Hey!

CHRONOS turns towards SAM, blocks his punch and sends SAM sprawling.

CHRONOS: [shouting] No! [to DEAN, who is still on the floor, with JODY MILLS behind him supporting his head] You! Destroyed everything!

SAM: Hey, Chronos?!

CHRONOS turns towards SAM and SAM stabs him in the chest with the stake.

SAM: Was that the best you got?

White light pulses in CHRONOS’s chest and flickers up his neck. CHRONOS drops to his knees. He looks up at SAM.

CHRONOS: You want to know your future? I know your future.

CHRONOS looks at DEAN.

CHRONOS: It's covered in thick black ooze.

DEAN looks over CHRONOS’s head to SAM.

CHRONOS: It's everywhere.

CHRONOS looks back to SAM.

CHRONOS: They're everywhere.

CHRONOS laughs.

CHRONOS: Enjoy oblivion.

CHRONOS falls dead. DEAN and SAM look at each other, then DEAN drops his head down.